High Gallery

Bugs And Bodies
Nickolai Zhuk, Louis Gary

High Gallery is thrilled to present Bugs And Bodies, a duo exhibition by Nickolai Zhuk and Louis Gary.
Exploring the potential of the pictorial medium, Nickolai Zhuk and Louis Gary in the show titled Bugs And Bodies find themselves offering a new sense of the figurative. Influenced by modernism, artists rework historical motifs within personal moments of their intimate experience to utilize and explore their idiosyncratic approach towards the medium.

Comprised of sculptures and paintings, the show develops a new sensual experience that leads to an imagery of memories and references, giving us a tendency towards the search for a context, an explanation. It feels as though the works had emerged directly from our unconscious and the show had been suddenly transformed into the place that abides in each of us.

Bugs And Bodies addresses the onset of a quite weird mood which is apparently replaced by a conscious, naive positivity. This approach creates an effect that is, eventually, tender, open-hearted, and instant. Through their work, Nickolai and Louis are offering a novel visual experience, in which time and space fuse and the narrative tableaux creates a new, uniquely suggestive atmosphere, enlivened with energy, humour and depth.

Przemek Pyszczek

Przemek Pyszczek’s work seeks to create a fragmented memoryscape that reconciles familiar color palettes, forms and materials that are extracted from a place where Pyszczek feels at home, yet also foreign.

Following his family’s emigration from Poland to Canada, Pyszczek laid the focus of his recent artistic work on the phenomenon of mass-produced residential blocks built in Poland before 1989 and their surrounding urban and social contexts. His interest in the deconstruction of these systems is founded in formal analyses and their intersection with his autobiographical history.

The notion of facades and their artifice is an aspect that appears throughout Pyszczek’s work. Buildings that are out-of-date are covered over with styrofoam and painted with a range of hues that somehow straddle the line between vibrancy and drabness. Much like the layers we apply to our physical selves, these veneers are fleeting and do not fully address the social and physical histories that have been inherited. Ultimately, the past into which these buildings provide a window cannot be erased or rectified with architectural intervention.